Fans

This article explores the views of 906 football fans (96% of whom selfidentified as White), collected via an online survey from May-June 2019, regarding the impact of the leading equality and inclusion organization, Kick It Out, in delivering initiatives to challenge the multifaceted expressions of racism by some White English football fans. Whilst fans recognize the importance of raising awareness of racial discrimination, nearly three quarters of White fans do not engage with any Kick It Out initiatives. In the face of new challenges, including the largely unregulated space of social media, and a socio-political climate that has facilitated the resurgence of overtly expressed bigoted, colour and cultural-based racisms, the article stresses that the English football authorities must support the work of anti-racism organizations to increase their potency amongst White fans if racial discrimination is to be more effectively challenged in the future.

Elevating the fan to the status of a byword for the Ancien Régime went hand in glove with an expansion of a sign language which coordinated the rituals at the French court. It was forbidden to open a fan in the presence of the sovereign unless one was making a keynote speech in which case a fan was used as an articulatory aid for demonstration. After 1789, as an attribute of superfluous mores of the French aristocracy, a fan became the subject of satires which mocked the anachronism of the pre-revolutionary dress code.

By looking at several examples of fans which continued to circulate in revolutionary France, I argue that fans not only remained an accessory of great predilection in the 1790s but more importantly the fan was granted a new set of meanings thanks to its intrinsic properties.

In a broader context, my discussion on the use of fans during the Revolution will suggest some ways of thinking about a highly complex issue: what happened to objects regarded as indispensable attributes of a freshly overturned monarchy in the aftermath of the Revolution?

El propósito de este trabajo es abordar las continuidades y rupturas entre el mundo de los fans de la saga de Harry Potter y el deporte quidditch en Argentina, el cual se inspira en dicha obra, pero se muestra como una actividad independiente. Esto se trabajará mediante el análisis del modo en que la ética del fandom aparece en el deporte estudiado. Para lograr esto, se recuperará la historia y polémicas recientes de la actividad a nivel global y local, estructurándose el artículo en torno a investigaciones previas, entrevistas, observaciones y la utilización de la etnografía virtual. Se concluye la existencia tanto de continuidades como de rupturas entre estos ámbitos, jugando la ética del fandom un papel particular: rechazar actitudes y sentidos opuestos a la misma que emergen de los propios practicantes del quidditch, pero también de los nuevos desafíos de la actividad.

Only one association football (soccer) player in history has declared his homosexuality during his professional active playing career. Before or since that player’s death in 1998,
no other professional footballer player has come out. The prohibitively traditional culture of association football is popularly regarded as being responsible for this. Fans habitually use homophobic epithets to abuse players. In recent years, England’s governing organizations have cautiously addressed this state of affairs, though ineffectually. The present study uses online methods to explore fans’ and industry professionals’ perspectives on gay players and the impact their failure to come out has had on the sport. The article, which is based on the responses of 3,500 participants, seeks to answer three questions: (1) Why do fans, who urge gay players to come out,use homophobic language to barrack players? (2) If gay players disclosed their sexual orientations publicly what effect would this have on them personally, on football culture generally and on conceptions of masculinity in sports? (3) What prevents gay football players coming out? The overwhelming majority (93%) of participants in the study oppose homophobia and explained the homophobic abuse as good-humored banter or, in their argot, “stick.” An unusual logic is employed to make this intelligible. Participants argue that an athlete’s ability to play football is the only criterion on which he is judged and his sexuality is of little consequence to their evaluations. Although few participants encourage forcible outing, the majority welcome openly gay players, whose impact would be transformative. Football clubs and agents are cited as the principal impediments to a more open and enlightened environment: participants argue that they pressure gay players to keep their sexuality hidden and so contribute to a culture of secrecy, which permits and perhaps commissions continued homophobic abuse. Participants speculate that the continued absence of openly gay players actually reproduces the apparent prejudices. One fan concludes, “The homophobia in football will remain for longer if no gay players come out."

This article draws on 3,500 responses from fans and professionals involved in association football (soccer) to an anonymous online survey posted from June 2010 to October 2010 regarding their views towards gay footballers. The overall findings are that, contrary to assumptions of homophobia, there is evidence of rapidly decreasing homophobia within the culture of football fandom.The results advance inclusive masculinity theory with 93 per cent of fans of all ages stating that there is no place for homophobia within football. Fans blame agents and clubs for the lack of openness and challenge football’s governing organizations to oppose the culture of secrecy surrounding gay players and to provide a more inclusive environment to support players who want to come out.

O presente artigo visa questionar e buscar respostas, através do estudo de caso, como e por que os fãs de determinados artistas do mundo da música usam a plataforma Twitter para divulgar as ações de seus ídolos e concomitantemente as ações do próprio fandom. Visto que os fãs possuem um importante papel em relação ao seu ídolo, eles procuram saciar seu desejo de pertencimento e utilidade perante a comunidade de fãs, escolhendo o Twitter por sua funcionalidade e abrangência mundial.

From inventive memes to fan films, contemporary popular culture continues long-standing traditions of adapting existing content to new formats. Despite the centrality of adaptation to popular culture, adaptation studies methods are rarely applied by researchers working in this area. Cosplay, in which enthusiasts dress as characters from popular culture at fan gatherings, is an increasingly visible part of contemporary culture. Through its reliance on a recognized source text, cosplay is a form of vernacular adaptation. By drawing on narrative interviews with cosplayers, this article illustrates how applying key adaptation studies approaches to cosplay can provide a fresh perspective on the fan phenomena. Vernacular adaptation like cosplay is not an esoteric practice. From fan fiction to movie-inspired protest signs, adaptation is a fundamental framework of popular culture. Yet, all too often, the tools and approaches of adaptation studies are ignored by media and cultural studies scholars. Focusing on cosplay as a form of vernacular adaptation, this article will demonstrate that adaptation studies is a valuable, yet overlooked, tool in the study of popular culture.

A palavra leque, que teve em tempos muito recuados o significado de moeda, passou depois a designar unidade monetária e substituiu, a seu tempo, abano. Após o aparecimento do objecto desdobrável a que em definitivo se chamaria leque e durante um período, relativamente alargado, continuaria em simultâneo a ser usada para ambos os objectos de abanar, isto é, o abano com cabo e painel fixo e o de abrir e fechar, mas também ainda diria respeito a uma «certa arma antiga». Escrevi um livro, editado em 2014, «Brisas de Leques», que trata de abanos, ventarolas e leques, resultado de diversos anos de leitura, interpretação e comparação de documentos maioritariamente do século XVI. Várias dúvidas, que a partir dessa altura me têm acompanhado, resultaram tão ou mais importantes que as conclusões a que cheguei, que se por vezes corroboraram conceitos antigos outras vezes vieram desmistificar alguns erros ou falsas deduções que ao longo do tempo já se tinham transformado em certezas. Alguns destes erros já vinham mesmo de longínquas origens e outros, resultado de atribuições mais recentes, do meu ponto de vista igualmente careciam de justificação. Analisei o melhor que pude os elementos de estudo que fui encontrando, na maioria há muito conhecidos e publicados, com excepção de alguns, talvez até então inéditos quando encarados dentro deste tema, mas penso ter sido sobretudo a prática que adquiri em cerca de trinta anos a manusear, classificar, inventariar e especialmente apreciar leques de todos os tipos, que me permitiu a partir de certa altura formar com relativa facilidade uma ideia suficientemente clara de muitos destes objectos apenas a partir de descrições dos mesmos, como aliás pode ser o caso de qualquer outro coleccionador dedicado. Assim, dentro deste espírito, venho de novo expor ideias sobre estes adereços, que me são hoje tão caros mas que começaram como apenas um dos complementos de uma colecção de traje que me absorveu quase completamente as horas vagas durante muito tempo. Contudo, em 2004, decidi e penso ainda que bem, que leques, bolsas e luvas chegariam e sobrariam para me preencher a década seguinte e é portanto nestes que me encontro hoje em dia concentrada.

Tesis doctoral Cum Laude - Universidad Autónoma de Barcelona.

Esta tesis trata precisamente sobre cómo interactúan diferentes factores. Se estructura en tres partes diferenciadas. En la primera parte de la tesis, se establece el marco teórico
y metodología. En la segunda parte se profundiza en el estudio comparado de dos empresas pioneras: Zynga y EA Playfish. La tercera parte trata sobre el contenido paralelo desarrollado por los jugadores a partir de los juegos y la aplicación de las técnicas de investigación. Las metodologías aplicadas son varias, destacando principalmente la netnografía.

Objet culturel désormais culte, en 39 ans Star Wars a révolutionné l’industrie du cinéma, bien que nul ne présageait la réussite de la franchise.
Ce dossier pose la question des conditions de la réussite culturelle et économique que représente Star Wars. En quoi cette oeuvre transmédia a-t-elle révolutionné l’industrie du cinéma ? Comment a-t-elle réussi à maintenir son succès ?

We examined whether the psychological needs fulfilled by group membership predicted fanship (identification with a fan interest) and fandom (identification with other fans) among anime fans. Self-identified anime fans completed measures of fanship and fandom, as well as measures assessing the psychological needs met by their participation in the anime community. The results showed that there are similarities and differences between male and female anime fans in the needs met by fandom participation. Furthermore, these differences in fulfilled needs predicted differences in fanship and fandom scores. However, overall, there existed few differences between male and female anime fans in motivation to engage with the anime fandom.

We examined the extent to which anime fans believe in paranormal phenomena and whether these beliefs are associated with preferences for specific genres of anime. Anime fans rated their preference for a variety of different anime genres and completed a measure of paranormal beliefs. A comparison of anime fans' paranormal beliefs with a sample of university students showed that anime fans were lower on four out of seven dimensions of paranormal beliefs. After constructing a five-factor model of anime genre preference (drama, slice of life, mecha, action, and hentai), we examined the relationship between genre preference and paranormal beliefs. Regressions controlling for participants' sex, age, and religiosity showed that greater preference for action and hentai uniquely predicted greater endorsement of paranormal beliefs above and beyond the other genres of anime. The results suggest that greater preference for, and likely greater exposure to, these two genres of anime is associated with endorsing a belief in paranormal phenomena.

There are numerous empirical sociological researches of transmedia storytelling media consumption. However, they mainly record either the practices of media consumption of specific media formats included in the structure of a transmedia project or the producers’ ways for constructing a narrative that creates transitions between media platforms. Often, researchers pay little attention to the circumstances of users’ interaction with the fictional world and their social relationships that form around a transmedia project. This study consists of a series of in-depth interviews and observations on the media consumption practices of users and fans of the fictional world which has formed around a series of fantasy works under the general name The Witcher. This transmedia project is interesting because, unlike specially created transmedia franchises with the expansion structures carefully planned by media companies, it forms itself spontaneously, as a result of the activities of different institutions and user participation, does not have a single development strategy, and is shaped by “grass-root” practices. The observation of media consumption practices of transmedia storytelling allows us to conceptualize construction’s peculiarities, such as narrative structures. Based on this data, it is possible to construct a network of interactions formed by the user migration between media platforms and compare such practices with the audience’s everyday practices. Since modern people form their understanding of the world based on their own experience and by using mediatized communication, transmedia storytelling represents a special kind of virtual reality or its particular case, which can be supplemented with the help of VR-technologies.
Эмпирические социологические исследования, посвященные медиапотреблению трансмедийных произведений, проводились неоднократно, но они главным образом фиксируют практики взаимодействия с конкретными медиаформатами, входящими в структуру трансмедийного проекта. Зачастую мало внимания уделяется обстоятельствам взаимодействия пользователей с вымышленным миром и их социальным отношениям, формирующимся вокруг трансмедийного проекта. Данное исследование состоит из серии глубинных интервью и наблюдений за практиками медиапотребления пользователей и поклонников вымышленного мира, сформировавшегося вокруг цикла произведений в жанре фэнтези под общим названием «Сага о Ведьмаке». Данный трансмедийный проект интересен тем, что в отличие от специально созданных трансмедийных франшиз, где структура расширения заранее спланирована медиакомпанией, он расширяется стихийно, благодаря деятельности разных институций и пользовательского участия, не имеет единой стратегии развития и сформирован практиками пользователей. Наблюдение практик медиапотребления трансмедийных произведений позволяет выявить способы конструирования подобных нарративных структур в формах медиатизированной коммуникации. На основе этих данных становится возможным построить сеть взаимодействий, формирующуюся вследствие миграции пользователей между платформами, и сравнить подобные практики с повседневными практиками аудитории. Так как современный человек формирует представление об окружающем мире не только исходя из личного опыта, но также использует медиатизированные средства коммуникации, трансмедийный сторителлинг, таким образом, предстает особого рода виртуальной реальностью или частным ее случаем, который может быть дополнен с помощью VR-технологий.

Cette thèse est la première thèse consacrée à l'éventail en France.

Elle porte sur l’étude du décor de la feuille d’éventail produite dans les ateliers parisiens depuis la fin du XVIIe siècle jusqu’au début de la Révolution.

La première partie a pour ambition de présenter succinctement le contexte artisanal en s’intéressant d’une part à la corporation et d’autre part aux conditions de fabrication de l’objet. La place des éventaillistes parmi les artisans parisiens du luxe est abordée ainsi que la valeur de ce commerce tant du point de vue du volume que de la reconnaissance de ce savoir-faire parmi les autres productions européennes.
Dans un second temps, la présentation de l’iconographie de la feuille permet de souligner la grande variété des thèmes, leur fréquence et leur variation sur la période. En complément de décors inspirés par l’histoire antique et la mythologie, d’autres sujets, marqués par une forte corrélation avec l’actualité et la vie politique du royaume, sont identifiés. Les thèmes liés au divertissement, la pastorale, les jeux, la musique ou encore le théâtre constituent un dernier pôle très représentatif.

Cette approche conduit à s’interroger sur les influences subies par les peintres ou les graveurs et à comprendre les caractères et les spécificités des décors. Des parallèles sont effectués afin de les replacer dans le contexte artistique par des comparaisons avec la gravure, la peinture, les arts décoratifs et la littérature de colportage notamment. Il apparaît que l’ambition décorative, qui se manifeste par la place de l‘anecdote et le goût du pittoresque, n’amoindrit pas la valeur didactique de l’objet comme le démontre l’importance accordée aux textes et aux chansons notamment.
La dernière partie ouvre l’étude sur une réflexion autour de l’éventail et de son appréciation par les contemporains. L’enthousiasme exprimé par les femmes s’oppose à la virulence des écrits de certains critiques et de peintres. Cette confrontation permet de mettre en exergue la reconnaissance de l’objet comme expression de la société féminine mais aussi comme reflet de l’expansion des arts décoratifs au XVIIIe siècle.

Mots clés : éventail, mode, accessoire de mode, artisanat du luxe.

***
This thesis is the first thesis about antique fans in France.
This thesis concerned with the decoration of fan leaves produced in Parisian workshops between the end of the XVIIth century and the beginning of the French Revolution.
The first part attempts to present succinctly the conditions in which fan leaves were manufactured, namely the place of fan-makers among Parisian artisans of luxury goods and the value of this business compared to that of other European producers.
Following in the second section is the presentation of the iconography of the fan leaf, stressing the wide variety of themes, their frequency and variation in this period. Apart from subjects from ancient history and mythology, a strong correlation between everyday events and the political life of the kingdom emerges. Entertainments, country pursuits, games, music and theatre are also topics widely represented.
This approach leads to a discussion on the conditions imposed on the painters and engravers and an examination of the characteristics and details of the chosen decorations. Parallels are drawn so that the fan leaves can be given an artistic context alongside engraving, painting, the decorative arts and relevant literature. As demonstrated in texts and, particularly, in songs, it seems that anecdotal decoration and the taste for the picturesque does not diminish the didactic value of the object.
Finally, the concluding part of the thesis reflects on the fan leaf as it was considered by contemporary writers. Feminine enthusiasm against the attacks of certain male writers reveals that the value of the object was principally an expression of female society but also that it was an object with a significant place in the expansion of the decorative arts in the XVIIIth century.

Key words : fan, fashion, fashion accessory, luxury goods.

Bien avant l’invention du cinéma, les hommes ont cherché à animer images ou objets afin de créer un mouvement ou de simuler une animation. Il n’est qu’à observer des pièces d’une exceptionnelle ingéniosité, et d’un raffinement extrême, comme les horloges-automates et certains surtouts de tables, chefs d’œuvre des orfèvres allemands du XVIe siècle, pour en être convaincu. L’une des plus spectaculaires et emblématiques inventions est certainement la lanterne magique. La projection d’images et leur changement offrent au spectateur une immersion visuelle et un voyage imaginaire sans précédent.

L’enthousiasme suscité par ces images mouvantes ne pouvait que conduire les artisans à tenter d’offrir des divertissements semblables. Plus ou moins modestes, les jeux visuels bénéficient ainsi de multiples déclinaisons, dans leur conception comme dans leur public.

Dès le premier regard cependant, il est indéniable que les objets offrent plus de potentielles animations que ne laissent à priori entrevoir les images sur papier. L’absence de volumes, notamment, paraît interdire toute velléité d’ajout de mécanismes destinés à une mise en mouvement. Mais ces apparentes difficultés ont été vaillamment surmontées par les artisans, graveurs, papetiers et marchands d’estampes au XVIIIe siècle, comme l’attestent les rares témoignages de cette production parvenue jusqu’à nous.
Bien que fragiles, et intrinsèquement éphémères, ces inventions de papier ont bien souvent été réalisées grâce à des techniques modestes : pliage, collage, ou montage simple.
Si l’ambition commune de toutes ces réalisations est à la fois divertissante et décorative, leur observation met en évidence plusieurs catégories d’animation. Le premier ensemble est celui des images dont le jeu est fondé sur la construction de la composition ; un second ensemble réunit les images transformées par des mécanismes complexes et internes. Le dernier ensemble met en exergue les images dotées de « systèmes » permettant la mise en mouvement de l’image.

Part 1 - extract

Savoir-faire et ingéniosité dans les ateliers parisiens, la vogue de l'éventail au XVIIIe siècle

In "Les arts réunis, Etudes offertes à Daniel Rabreau, réunies par Janine Barrier, Claire Ollagnier et Josiane Sartre"

Dans une démarche originale, l'association GHAMU (Groupe Histoire Architecture Mentalités urbaines" a demandé aux confrères et disciples de Daniel Rabreau, professeur émérite des universités, d'accomplir à leur tour un voyage comme celui entrepris par Voltaire en 1739 à la recherche du "Temple du goût", tant les travaux éminemment variés de sa carrière semblent en avoir pris modèle".
Les Nouvelles Editions Latines
déc. 2016

Article about the links between fans painting and miniature during the XVIIIth century.

in
Miniature et éventails en Europe au XVIIIe siècle. La question du portrait.
Colloque international "Miniature et éventail", Paris, Fondation Simone et Cino del Duca, 12 octobre 2012. - publication en 2013

À la fois familier et méconnu, l’éventail allie savoir-faire et création artistique. Accessoire du costume et objet d’art, soumis à la fugacité des modes, il se renouvelle sans cesse.

Importé d’Asie, au milieu des cargaisons d’épices et de soies, l’éventail est adopté en France sous le règne de Louis XIV. Sous l’impulsion d’une corporation spécifique, celle des éventaillistes, Paris devient la capitale européenne de l’éventail aux XVIIe et XVIIIe siècles.

Objet de luxe et de virtuosité, il se pare de matières raffinées et la grande diversité de ses décors suit la production des peintres à la mode. Tout peut y être représenté : la mythologie, l’histoire antique et religieuse, les scènes galantes, les faits d’actualité, comme l’envol du ballon, les victoires militaires, les naissances et les mariages royaux…

Les soixante-neuf éventails reproduits dans cet ouvrage, souvent inédits, offrent une plongée exceptionnelle au coeur de l’histoire de France et de l’histoire du goût.

Les auteurs

Docteur en histoire de l’art et expert en éventails, Georgina Letourmy-Bordier a soutenu la première thèse en France consacrée aux éventails français des XVIIe et XVIIIe siècles. Passionnée par cet objet d’art, elle contribue à sa redécouverte grâce à des expositions et à des publications régulières.

Conservateur en chef du patrimoine, spécialiste de l’art français et italien du XVIIIe siècle, José de Los Llanos a dirigé le musée Cognacq-Jay de 2007 à 2012. Il est actuellement directeur du musée des Beaux-Arts de Bordeaux.

Sommaire

- Le siècle d’or de l’éventail - Du Roi-Soleil à Marie-Antoinette
- Watteau, Boucher, Diderot et le cousin Pons - De la difficulté à apprécier des chefs-d’oeuvre anonymes
- Catalogue
- Glossaire - Bibliographie

https://dai.ly/x1ae37h

Parmi les multiples cafés ouverts sous les arcades du Palais-Royal à la fin du XVIII e siècle, il en est un hors du commun, non par son décor ou les boissons proposées mais par son mode de service. Connu sous le nom de Café mécanique, situé au n° 99, il est le sujet dès son ouverture d'une grande curiosité : « dans la partie du Palais-Royal déjà bâtie, il vient de s'établir un café où l'on court à cause du mécanisme, qui, à l'exemple de la fameuse table de Choisy 1 , apporte sur chaque guéridon ce que le consommateur a demandé sans l'assistance d'aucun agent visible » 2. Les guides destinés aux voyageurs, les almanachs n'oublient pas de mentionner ce qui fait de ce café un cas unique : son mode de fonctionnement. L'almanach du Palais-Royal pour l'année 1786 nous renseigne à ce sujet : « Les pieds des tables sont deux cylindres creux, dont le prolongement commu-nique avec le laboratoire qui est sous la salle. Il suffit pour avoir ce que l'on désire de tirer sur un anneau adapté au-devant de chaque cylindre. Cet anneau répond à une sonnette qui avertit dans le laboratoire, alors s'ouvre sur la table une soupape pour recevoir la demande. Cette soupape se referme aussitôt et ne s'ouvre plus que pour laisser passer une servante à double-étage » 3. Une autre description complète ces renseignements : « Ce café mérite d'être visité, par la singularité du mécanisme qui fait monter de dessous la table la boisson qu'on demande. Il s'agit de dire les paroles par un trou pratiqué à chaque table, un instant après, et comme par enchantement, s'élève ce que vous avez demandé. Et cela s'engloutit de la même façon » 4. L'auteur du Tableau du nouveau Palais-Royal varie un peu dans sa description en indiquant que la « limonadière a dans son comptoir un porte-voix dont elle se sert pour avertir les garçons qui sont dans les caves » 5. En dehors des publications, il n'existe pas de représentation du mécanisme ou de l'intérieur du café, à l'exception d'une feuille d'éventail : la vue intérieure donnée est très succincte 6. Un simple cartel surmonté de l'inscription « Caffé Méchanique » (sic) montre quelques consomma-teurs attablés. Au centre de la composition, on reconnaît la « dame de comptoir » derrière sa caisse. Le décor est des plus simples, les murs ne sont décorés que de quelques boiseries : « il n'est pas richement décoré, mais il est propre, sans élégance » 7. Le graveur s'est attaché à faire apparaître le mécanisme. Ainsi, deux cylindres transparents, allant du sol au plateau des tables, sont tout à fait reconnaissables. La représentation de ce café sur un accessoire de mode s'explique simplement parce qu'il est dès sa naissance un des plus fréquentés du jardin. Il fait partie des curiosités incontournables à connaître. Il est d'ailleurs associé à deux autres activités offertes au Palais-Royal à la fin du XVIII e siècle : le spectacle des Beaujolais 8 et une vue principale des parterres et des pavillons de treillage. L'éventail résume ainsi trois des passe-temps favoris du moment : la promenade, le théâtre, le café. Les six strophes sur « L'air de Figaro » qui sont inscrites au dos corroborent cette aura dont jouissent alors le jardin et ses attractions : 44 DE CAFÉS EN QUARTIERS Cette feuille d'éventail offre une représentation extrêmement rare du Café mécanique, situé au Palais-Royal

The present paper is a proposal for an empirical study on eye-tracking in subtitling to determine the efficacy of fansubs and their perception and reception by the general audience, as well as the intended demographic. It begins with a short review of literature on audiovisual translation and subtitling, building on the importance of fansubs and how the existence of fansubs changes the meanings of translator and audience, and moves on to the methodology and hypothesis of proposed research, corpus, hypothetical elements and factors, and finally assumptions on the expected results.

Pretende-se com este trabalho apresentar e interpretar os resultados de investigação feita para comprovar a existência de manufactura de leques em Portugal antes de meados do século XVIII , cuja possibilidade já foi aventada por alguns autores mas que no meu caso se revelou infrutífera. A partir daquela altura analisei a documentação disponível no que refere a diversos artífices que nesse ofício exerceram comprovada actividade, tanto como oficiais como mestres lequeiros, tendo concluído ser de justiça dar-lhes merecido relevo quando em comparação com a concorrência a que estiveram sujeitos por parte do melhor que se fez na Europa e Ásia.

The development of ‘new’ media at the end of the 1980s and early 1990s has radically changed the relationship between the media and football supporters. Firstly, a growth in media sources created a very competitive media environment and, secondly, led to greater interaction between the media and its audience. Drawing on forty seven semi-structured interviews with media personnel and eight hundred and twenty seven questionnaires completed by supporters at four football clubs, this article assesses how fans consume the many media sources that now exist and the level of involvement for supporters in the media. The results indicated a balance of consumption between ‘old’ and ‘new’ media as well as highlighting the contrasting strategies each media source had put in place to involve supporters. The article concludes by suggesting that there remains a place for those media sources which involve their target audience.

We tested Wann’s (2006) team identification-social psychological health model in a sample of self-identified anime fans. Anime fans completed measures of fanship (a construct analogous to team identification), online and face-to-face friendship, and a multi-dimensional measure of well-being (i.e., physical, psychological, and relationship). The results largely supported Wann’s model. Associations between fanship and psychological and relationship well-being were moderated by face-to-face friendships, but not by online friendships. While the model significantly predicted psychological and relationship well-being, it did not significantly predict physical well-being. We discuss possible reasons why the model is supported in the present anime fan population, but has not been supported in prior research on sport fans.

In 2010, My Little Pony: Friendship is Magic premiered on television. A large, avid fandom soon emerged—not the pre-teen female demographic earlier versions of the franchise had been created for, but a roughly 80 percent male audience, most of them age 14–24. With this came questions about the nature of the audience who would come to call themselves “bronies.” Brony Studies was born. Approaching the fandom from a perspective of clinical, social, and experimental psychology, this study presents eight years of research, written for academics and fans alike. An understanding of the brony fan culture has broader application for other fan communities as well.

Au fil de nos découvertes et de nos recherches, cet article de quelques pages est devenu une somme que nous avons souhaité publier en plusieurs livraisons. A l'instar de ce que nous avons proposé aux lecteurs pour l'article sur Les Tabletiers et les éventaillistes à Paris au XVIIIe siècle (bulletins n° 391 à 396) nous proposerons un tiré-à-part, une fois l'ensemble de l'article paru, permettant de le consulter en un seul volume. depuis nos premières réflexions jusqu'à aujourd'hui, nous avons vu notre corpus d'images croître sans cesse. d'une part, grâce à nos propres ressources, et d'autre part, grâce aux très nombreux collectionneurs qui nous ont soutenus dans notre recherche en nous ouvrant leurs portes ou en nous communiquant les photographies des écrans de leurs collections.

Open letters offer a unique focus for rhetorical analysis in sport communication, forming a message that is both interpersonal (the attempt to reflect dialogue through a letter writer and its recipients) and public (the “open” part of the open letter). The National Football League (NFL) attempted image repair when it used open letters to respond to accusations that it was not doing enough to protect athletes against devastating effects of concussions. Through the use of Benoit’s theory of image repair, the authors found that Commissioner Goodell’s open letters relied on 2 main image repair strategies: reducing offensiveness and corrective action. They consider the implications of these rhetorical choices for the complicated merging areas of sport, communication, and health in the NFL’s open letters.

This is a version in English of my papers  «Leques, abanos, armas...» Parts I and II, where I expressed mainly opinions about several interpretations of the meaning of  the Portuguese words «leque» and «abano» in the book «THE GLOBAL CITY ON THE STREETS OF RENAISSANCE LISBON» which I have read with much delight and profit. 
In fact the Portuguese language can often be misleading as some words, having many synonymous, become frequently difficult to understand correctly.
  But I also had the unexpected pleasure of finding at last, in this book, a fan I always sensed could have existed, because of knowing already two others with the same origin, Ceylon, however not «brisé» as this «new» one, as well as the celebrated cockade fans, having written in my book «Brisas de Leques» extensively about this matter. I am now hoping to put together some thoughts in the future about this wonderful discovery.

Este artículo se propone analizar qué implica ser fan a partir del caso del «fandom» de Harry Potter en Argenti-na. Para ello, se indagarán las representaciones, actividades y vínculos de los fans. Se recurrió a una metodología antropológica centrada en el trabajo de campo etnográfico clásico y virtual, complementado por análisis de fuen-tes. Sostengo que ser fan implica determinadas formas de hacer, pensar y sentir en torno a un objeto de interés. Del mismo modo, formar parte de un «fandom» conlleva la construcción de identidades compartidas y colectivas

The people of Melbourne are renowned for their ‘football fever’, yet this fever is under-studied. This paper addresses this fever by exploring the loves, suffering, and strange identifications of Australian Football League fans. Building on and complicating Freud's theories of group psychology, I argue that love, or rather two loves, are at the heart of the experience of being a fan. Fans love their club in a manner that incorporates the club into their sense of self, with the club becoming an ideal that is to be served. This love facilitates a particular form of identification where fans experience the club's trials, tribulations and triumphs, as if they too were being subjected to them. Moreover, in identifying with their club through love, the fan also takes on a second love, that of the club's object of desire, the elusive premiership. This is the love of the conquest and pursuit, a love that entails pain and suffering.

Kpop sudah tidak asing lagi di telinga masyarakat, karena kpop semakin merajalela di berbagai belahan dunia. Kpop merupakan sebutan karya musik dari Korea Selatan, yang terdiri dari girl group, boy group dan bahkan penyanyi solo. Biasanya lagu mereka di iringi dengan sebuah gerakan yang berciri khas. Para penyanyi mengeluarkan sebuah karya lagu pastinya membutuhkan perhatian dari publik. Artis kpop akan berusaha dengan keras untuk menarik penggemar yang menyukai lagu mereka. Karena dengan adanya penggemar akan menguntungkan mereka, dari pengemar membeli semua barang yang di jual oleh artis kpop.

The changing relationship between football clubs and supporters has been the subject of recent debate but has received relatively limited empirical analysis based on case study research. This article draws on interviews and a questionnaire fan survey to assess the extent to which four football clubs had developed
mechanisms to include ‘active’ supporters in club-related decisions. The article then examines the strategies put in place by each club to encourage supporter involvement and whether they have been successful in their actions. The results
indicated that supporters of clubs which encouraged an inclusive relationship through the opportunity of two-way dialogue expressed greater satisfaction than supporters of clubs which maintained one-way dialogue. The article concludes by
suggesting that those clubs which are seen to exclude ‘active’ supporters could face long-term financial consequences if they continue to operate in this way.
I

Surpreende-me que ainda se aceite em geral que os leques chineses destinados a exportação tenham sido todos manufacturados em Cantão, alargando até alguns autores esse fabrico a Hong-Kong como se fosse possivel desde a respectiva fundação...
Há quase quarenta anos Iröns, um orientalista americano, dedicou um capítulo dum livro a leques de Macau, pondo em relevo as diferenças de estilo entre os que considerava feitos neste território e os originários de Cantão.
Abriu o caminho a seguidores, que como eu beneficiaram do seu pioneirismo, mas também enfrentou descrentes que argumentaram com a incapacidade de Macau, habitado por reinóis e chineses improdutivos e indolentes, eterno mero entreposto comercial, onde nada se fabricava, não aceitando que pudessem ser fabricados objectos para exportação por artífices chineses no Bazar e mais tarde mesmo na parte europeia, tal como acontecia em Cantão.
Neste trabalho tive o propósito principal de conferir aos leques de Macau, facilmente identificáveis pelas belas pinturas de pássaros e flores dos reversos, o relevo que merecem. Por volta de 1830, Cirille-Pierre Théodore Laplace visitou Thomas Beale, habitante de Macau por mais de cinquenta anos  então falido,  mas que fora o homem mais rico da cidade. Mesmo assim os seus imensos jardins e aviário eram ainda o ex-libris local. Diz Laplace que o hospedeiro, tão generoso quanto complacente, o forçou a aceitar uma fascinante colecção de pintura representando as mais belas flores do seu jardim e a maior parte das curiosas aves daquele famoso viveiro, admiravelmente pintadas em papel de arroz por artistas chineses formados por ele e trabalhando sob a sua orientação, testemunhando assim que havia aí artistas perfeitamente capazes de executar o trabalho que se encontra no reverso dos leques da Escola que hoje é chamada de Macau.

With the development of internet technology, a fundamental change took place in
communications field, it has emerged the concept of interaction. With the emergence
of Web 2.0, social sharing networks has enabled them to users actively sharing.
However, both Turkey and the World sport has come to industry situation.
Between sport‟s section, Football has different value. Because soccer affects individual
of all ages and it is attracting the attention of the society. The reason that football
has so much attention is existence of sports club. The presence of sport clubs
creates a fact of fan and the fans became community which is coming together for
the same purpose. Sport clubs use the social media actively, so fans are easily accessible.
Players, also, are able to utilize social media for communicate wit their
fans. At this point, instagram, which is based on more visuality, is used actively.
Fans communicate with player via instagram and with give answers of players, interaction
reveals. The research model, used in this study, is constituted with speculative
perspective of “spread impression” which is named by Erving Goffman. In
this study, sharing of players via instagram is realized with concepts, which are
present by Erving Goffman, as social inreaction or fans interaction. As concepts of
research in study are interaction, performance, role-routine, player-actor, researcher,
audience, giving impression, spread impression and individual glass. This
study has four parts. These are research on the subject as; an overview of the concept
of sports, social media with the main lines and internet, Galatasaray sport club
with the context of interaction between fans and players.

Esta tesis de licenciatura investiga la construcción social y simbólica de fandoms en Argentina entre fines de los noventa y la actualidad, a la luz de la antropología de la religión y mediante un estudio de caso de los fans de Harry Potter. Para ello, siguió una metodología centrada en la etnografía clásica y virtual. En el trabajo se abordan las prácticas de los fans en torno a su objeto de devoción, así como sus identificaciones, relaciones y representaciones sobre el fandom. Asimismo, se analiza la simbología apropiada, producida y utilizada por los fans, atendiendo a las influencias de los símbolos propios del catolicismo.

Visita a um importante leque europeu de encomenda, com proveniência conhecida, alegórico e topográfico, inteiramente decorado  com cenas alusivas ao reinado de rei  Carlos III de Espanha e  no reverso com vistas da nova Madrid edificada nesse reinado. Adquirido em óptimo estado de conservação, encontrou  quem  lhe  desvendasse uma  mensagem, que ajudada por pequenos detalhes a pouco e pouco  me  permitiu chegar às conclusões que  neste trabalho se apontam.

Pareceu-me  também, um ano após as comemorações do tricentenário do nascimento do rei  Carlos de Espanha e duzentos e cinquenta anos passados sobre  a difícil decisão tomada por este  rei da expulsão dos jesuítas,  que o leque  em causa, já exibido no século passado em grandes exposições internacionais, merecia  agora ser compartilhado de forma mais abrangente.

Cersei Lannister and Claire Underwood are central female figures in the fictional worlds of Game of Thrones and House of Cards, respectively. Queen of the Seven Kingdom the first, First Lady turned Madame President the second, they have climbed the ladder of power by engaging in extreme acts of manipulation and violence. Even more devious and sadistic than some of their male counterparts, Cersei and Claire proudly belong to the category of female supervillains offered us by current quality television dramas. In this sense, their ambiguity and complex fascination as ruthless 'women of power' has already been investigated in a variety of academic papers.

In this article, I propose a comparative analysis of these two characters. Indeed, I believe that, more than the similarities, it is the main difference between Cersei and Claire that can provide us with further reflections on television representations of gender roles and power dynamics. I identify this trait with the condition, or lack thereof, of motherhood. Indeed, throughout the many seasons of the shows, motherhood emerges as a controversial issue for both women, in particular with regards to the substantial relation that it appears to have with the propensity for humanity and compassion as displayed or denied, on particular occasions, by these characters' words and actions.

I intend to explore the nature of this complex relation by focusing on:
1) the significance of this female role and its impact on Cersei and Claire's forms of empowerment within the political societies of Game of Thrones and House of Cards;
2) fans' responses to and considerations on the extreme deeds perpetrated by these characters in the light of their personal attitude toward this specific role and its implications.

This work's final aim is to identify the cultural and ideological messages behind the representations of these female figures, ultimately reflecting on the actual significance of their unrestrainable pursuit of independence and power.

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